k 



The American Method / *' 



Carriage Painting, 



By F. B.' GARDNER. 



The Deviltries of Varnish, 

By G. W. W. HOUGHTON, 



(Editor of "The Hub.") 




Fourth Edition, Revised and Corrected. 


... . . ~'"^>» 






NEW-YORK: 




VALENTINE AND COMPANY. 




1879. 




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^ 



(\A%'^ 



PREFACE 



AT the solicitation of many friends and brother painters, to put upon 
paper a plain statement of the method of painting employed by the 
best New- York carriage-builders — ^particularly by Brewster & Co. (of Broome 
Street), by whom I was formerly employed — I have, in the following arti- 
cle, written out the most important facts relative thereto, and hope they 
will merit careful reading, and possibly shed a few rays of light in the 
comers of some carriage, wagon or car paint-shop. 

That good results will follow the employment of the " American Method," 
here described, need not be questioned, for demonstration of the fact may be 
had at any time by examining the work of several leading firms in this city 
who employ this method, and who will testify to the accuracy with which I 
have given its details. 

F. B. GARDNER. 



Copyright 1878. Valentine & Company. 



THE 

American Method of Carriage Painting. 



HOW TO PAINT A CARRIAGE BODY. 

THE body (either a heavy or light one) having been placed in the hands 
of the painter in good condition, the first operation should be to thor- 
oughly dust off every part, and then apply the priming coat of Permanent 
Wood Filling. 

Permanent Wood Filling is a liquid of about the same consistency as Var- 
nish, and is supplied in cans of one and five gallons capacity. There are two 
shades, the " dark" and the '' light," the former being generally used as a prim- 
ing on carriage bodies, while the latter is better adapted for railway cars, or 
for work that is to be painted in light colors. However, one may be sub- 
stituted for the other if desired, as they possess precisely the same qualities, 
with the single exception oi color. 

This priming may be applied either hot or cold, but it will be found to pen- 
etrate deeper into the wood, to work more freely, and to cover a greater ex- 
tent of surface, if first warmed ; this may be done in a common glue-kettle 
over the fire; but where gas is available the best plan of heating it is by the 
use of a small gas stove. 

In no case should it be reduced with turpentine or oil, but it should be applied 
in its pure state. The parts of the body which are covered with canvas or 
muslin should be primed with " slush," and not with P.W.F., as too great an 
amount of the latter would be absorbed and kept in contact with the glue, 
which would be liable to soften the latter ; but in no case will P.W.F. aftect 
other glued parts of the job. To apply the P.W.F., take an ordinary clean 
bristle paint-brush, and, dipping it into the liquid, spread it on a portion of the 
body (say on a side panel), giving a moderately heavy coat. No great care 
need be taken to spread this evenly ; it may even be daubed on roughly, for 
immediately afterward we proceed to rub the part thus coated with a piece of 
fine sand-paper, or, still better, some that is half- worn, with just sufficient grit 
to remove the fuzz of the wood. Then wipe off all the superfluous P.W.F. 



4 THE AMERICAN METHOD OF CARRIAGE PAINTING. 

with a clean rag, acting as if a mistake had been made, and it was necessary 
to wipe all the material from the surface. Proceed in the same way with the 
next panel, and so on until all the bare wood, inside and out, is coated. The 
inside and bottom of the body will not require sand-papering, but should be 
well wiped over with rags. 

The object in rubbing the P.W.F. with sar d-paper is to remove the fuzz, 
which always rises on moistened wood, which Ilizz, being very fine and soft, is 
partially rubbed into the pores, thereby assist ng as a filler; and besides, the 
rubbing forces the liquid still further into tht. wood; To simply lay a thin 
coating of P.W.F. on the wood, and allow it to " soak in," is not the proper 
way to prime a carriage body ; and if you do not do the work properly, how 
can you expect good results ? 

The body being coated all over, set it aside for drying, and it will be found 
best to allow it 48 hours ; but if in a great hurry, 24 hours will suffice, provid- 
ing the job was well rubbed off after priming it. 

You now ask, " What has this P.W.F. done ? " The grain does not appear 
filled ; and we answer as follows : 

A priming, to be durable, should unite with the wood — grasping, as it 
were, the fibres, and penetrating into the pores, filling them, preventing the 
entrance of moisture, and thereby aiding to sustain the subsequent coats. At 
the same time, it should be composed of materials which, when dry or oxidized 
into resins, will possess sufficient elasticity to allow a slight change in the wood, — 
such as that given by severe jars, or by the expansion or contraction caused by 
a variation in temperature, — without cracking. 

The oxidizing or hardening of paint must go on slowly and uniformly, 
otherwise elasticity of the surface and all cohesive power will be destroyed. 
Oil is boiled and siccatives added to render the oil more susceptible to the ef- 
fects of oxygen, and thereby hasten its drying ; but the boiling tends to destroy 
certain properties of the oil. Raw oil made siccative, or drying, by the ad- 
mixture of driers to the paint, is therefore preferable, as it does not remove 
from the oil its penetrating properties. However, the paint thus mixed cannot 
be depended upon as a filler for the pores, for the oil, water-like, seeks the in- 
terior of the wood, and coats the pores, but does not fill or close them against 
moisture. 

To fully meet the requirements of a good priming, the penetrative quality 
of the oil must be retained, and the body which supplies the quality of " fill- 
ing " must consist of something which can be dissolved and mixed with the oil 
in a liquid form ; in other words, the filling substance of the paint must be a 
liquid which will assimilate with the oil, and not, as in the case of a pigment, 
consist of a granular substances simply suspended in oil. 

If we examine with a magnifying glass ordinary paint in its liquid state 
it will appear similar to fine gravel mixed with molasses, each little grain of 



THE AMERICAN METHOD OF CARRIAGE PAINTINO. 5 

pigment being smeared with oil, varnish, or whatever hquids the paint may con- 
tain ; and if it be spread on wood the grains will remain on the surface — they 
being too coarse to enter the pores, while the liquid will be sucked in. Now, 
on the other hand, if we mix a liquid with the oil to form the filler, no gran- 
ular appearance will be observed, and if the oil penetrates the wood llie filler 
will go with it. 

The body, having been allowed ample time to dry, is ready for the rough- 
stuff, or " leveling paint ;" and care should be taken not to disturb the surface of 
the body by rubbing with sand-paper or anything else, for there is a thin skin 
of oxidized P.W.F. covering every little fibre, which helps to protect the wood 
from dampness, and which, if broken, would be rendered useless. A simple 
dusting off prepares the body for the paint. 

Much has been said and written about this leveling paint or rough-stuff, and 
it is not necessary to extend remarks on that subject in this connection. 
However, we will endeavor to show why a ready prepared article is best, by 
giving the reasons advanced by Brewster & Co. 's workmen, and others, who 
use prepared rough-stuff exclusively. 

No matter how good a receipt the painter may have, or how carefully he 
may mix his rough-stuff, it is impossible for him to measure the proportions on 
a small scale as accurately as can be done on a large one. To a barrel of pig- 
ment we can easily add lo gallons of each of the liquids used, and duplicate 
the mixture at different times, but the painter cannot so easily proportion the 
same ingredients in a cup ; therefore at one time his paint will be more or less 
elastic than at another, and it is well known what effect a coat of extra elastic 
paint will have if placed under or between harder and less elastic ones. Be- 
sides, it is much handier to have the rough-stuff ready at all times, saying 
nothing of the cleanliness thereby gained, and the economy in time. 

Valentine & Company furnish a ready prepared rough-stuff in two colors — 
" dark " for ordinary carriage work, and " light " for railway cars and work to 
be painted in light colors. It is prepared from a formula which long experi- 
ence has proved the best, and is always uniform ; while to prepare it for use, it 
is only necessary to thin it with turpentine to a proper working consistency. 

Remember here that turpentine, being a volatile oil, evaporates very quickly 
from paint when left exposed to the air. 

The first coat of rough-stuff should be made a little more elastic than the 
subsequent coats, that it may harmonize well with the elastic P.W.F. under- 
neath, after whi:]., the prepared rough-stuff, as received from the manufac- 
turers, is in proper condition. The addition of 5 per cent. (/. <?., one part in 



6 THE AMERICAN METHOD OF CARRIAGE PAINTING. 

twenty) of raw linseed oil will produce the desired elasticity for the first coat, 
and 48 hours should be allowed for drying. The subsequent coats may be ap- 
plied one each day, until all is on. Rough-stuff always makes the best job 
when moderately thin, spreading and drying better, but it should be well 
brushed down. 

It is a mistake to apply heavy coats of rough-stuff ; better a great deal to give 
an extra one. The precise number of coats a body requires depends entirely 
upon the quality of the woodwork. Four coats ought to be sufficient, and 
will be after some workmen, while other jobs require five or six to make a level 
surface. 

Now, having applied the first elastic coat of rough-stuff, and allowed it 24 
hours for drying, we may putty up the principal screw-holes and nail-holes with 
putty made as follows : Equal parts of dry white lead and keg-lead, mixed to 
a stiff dough with equal parts of Crown Coach Japan and Rubbing Varnish ; 
after applying, allow all to harden for another 24 hours. The other coats of 
rough-stuff, having no oil added, may be applied one coat each day; after 
which a stain or " guide coat " should be given ; the latter may be made of 
any cheap pigment, differing in color from that of the rough-stuff Yellow 
ochre mixed with japan and turpentine is considered good as a guide coat, 
owing to its " grit," which helps to scour off the outer coats, and to hasten the 
rubbing process ; the addition of pulverized pumice-stone to the " stain " will 
also be found beneficial for the same reason. 

When all the rough-stuff and stain is dry, which will be in, say, 48 hours, the 
work of " rubbing out " may be commenced. The stone used in Brewster & 
Co.'s for this purpose, is, first, a prepared stone or brick, marked " Schuma- 
chersche Fabrik " (showing it to be of German make), and the grade — there 
are several — is No. 3. II. This cuts rapidly, and the surface is then finished 
with lump pumice-stone. When the rubbing is finished, wash the body clean, 
and dry off with a shammy, then set it aside for at least eight hours, for the 
moisture to evaporate. 

This " drying out " of the body Is of vital importance, and should not be 
neglected. Rough-stuff, providing it is good rubbing rough-stuff, is necessarily 
porous, no matter what pigment or vehicle is used, and- the water used in rub- 
bing is consequently absorbed by it ; therefore, it is essential, after the moisture 
has all evaporated, that the pores be closed, in order that the oil of subsequent 
coats may not be absorbed by them. 

Tlie reader will notice that our aim, throughout the foundation painting, is to 
produce a non-absorptive surface. The P.W.F. closed the pores of the wood 
against moisture, then it became necessary to level the surface for the color-and- 



A TALE OF P. W. F. 




Tqne- 



I^e/er Piper picked a peck of pickled 
peppers." 




Peter Pinxetus, the philosophical 

Painter, 
In painting a Phaeton for a particular 

patron, 
Pronounced his plain purpose to prime 

with paint patent. (P. W. F.) 



Plenty of Painters — professors of 

painting 
Protested, protested — predicted 

poor painting, 
Proclaimed it " played ! " plainly — 
Preposterous proposal! to prime 

with paint patent ! 
Presumptuous Peter ! poor pill of a Painter ! 
Poor priming ! poor pastime ! 
Placid, persistent, — yet patient, progressive, 
Proud Peter pushed forward, primed, puttied and painted. 

Presto / Persimmons / the Phaeton 's 

painted ! 
The patron, well pleased, the painter 

much praised ; 
The Painters pretend they were plain- 
ly prophetic, 
Proclaim it pre-eminent ! pronounce it 
perfection ! 
^^ «p ^r Poor Painters ! Poor Painters ! 

.ifff '"w^ ^ Who prefer "played-out" priming, 

Who pretend to pursue the path of true progress, 
Yet persist in the past and prefer not " wood-filling." 




WHAT IS 




va:!^hash makers 

323 PEAHIlGZ 
UX 



THE AMERICAN METHOD OF CARRIAGE PAINTING. q 

varnish, and our only means of doing this was by the use of a porous ma- 
terial called rough-stuff. Now, if we* should mix this rough-stuff with sufficient 
oil or varnish to make it anti-porous, we would be unable to rub it to a smooth 
surface ; so, to carry out our plan, we have to coat the rubbed rough-stuff sur- 
face with P.W.F., and we do this in the same manner as if priming, excepting 
that no sand -paper is used. This will effectually close the pores of the rough- 
stuff, and at the same time securely bind or cement the paint into a homoge- 
neous mass, giving us a marble-like surface on which to spread the color. 

We know that mud, if left on a varnished surface, will extract by capillary 
attraction a portion of the oil from the varnish, and destroy its brilliancy. Just 
so will the porous rough-stuff, under the varnish, drink in the oil from the under 
side, and destroy it ; but, thanks to Mr. Fred. J. Greene, of Boston, who first 
suggested the use of P.W.F. over rough-stuff, we are now able to avoid this 
trouble. 

The coating of P.W.F. over the rough -stuff must be allowed at least 48 
hours to dry, or otherwise there will be danger of cracking in the color coats. 
When this time has been given, we may dust off and apply a "preparation " or 
" ground " coat, but in no case should the rough-stuff surface be rubbed or 
otherwise disturbed before the application of the color coat. 

T/iis body we will paint black, as that is an easy color to mix and apply. 

For the ground coat, mix lampblack with Crown Coach Japan, or Japan 
Gold Size (remember that the latter is twice as strong as Japan, and that con- 
sequently only half the quantity will be required) ; thin with turpentine and 
run through the mill. When ground, add a tablespoonful of raw oil to each 
pint of paint, and stir well. Then, to test whether the proportions are correct, 
spread a thin layer upon the thumb-nail, blow the breath upon it to hasten 
evaporation, and in a moment it will assume the same appearance it would 
have when dry upon the body. If too "dead" or "flat," add a very little 
more oil ; if too glossy, a little turpentine will help to bring it to the desired 
" egg-shell gloss," and when this is obtained it is ready for laying on. This 
method of testing paint for color on carriages is the most reliable one to secure 
a uniform degree of elasticity. Owing to the peculiarities of pigments, some 
being natural driers or neutralizers of oil, and others anti-drying, no arbitrary 
rules can be laid down which will give satisfaction, but almost all colors may 
be tested in the above-named way. 

It is our aim to get on just as small a quantity of paint as possible in cover- 
ing or making a solid ground, and we therefore use flat camel's-hair brushes, or, 
as known by some, " mottlers " and " blenders." When the ground coat of 
lampblack has been on 24 hours, we may go carefully over the job, and putty 



lO THE AMERICAN METHOD OF CARRIAGE PAINTING. 

any little scratches or imperfections found thereon ; and, when dry, a very light 
rub with fine sand-paper will prepare it f9r the color proper — i. e., ivory black. 

The introduction of ready prepared colors into the carriage paint-shop has 
been a blessing to the painter, and we recommend their use in this connection. 
Valentine's Ivory Black, for our color, will require a very little turpentine to 
bring it to a smooth working consistency, with the addition of a few drops of 
oil, to bring about a subdued gloss, tested by the thumb-nail method. One 
coat of this, laid on with a clean camel's-hair brush, will complete the coloring 
process. 

One day is sufficient for drying the color, after which we come to another 
important point in our journey toward completion, namely, the application, on 
all black surfaces, of Valentine's Black Japan in the place of the old-fashioned 
mixture, " color-and-varnish." English Black Japan has been in use in Eng- 
land and France for many years, but its use in this country is comparatively 
new. It produces a superior shade of black, and is in every respect a more 
durable and brilliant coating than the ordinary black color-and-varnish. Valen- 
tine & Company have produced a Black Japan superior to the English article, 
in that it may be mixed or diluted with any of Valentine's Varnishes without 
discoloring (turning green), whereby a gradual increase in elasticity from the 
color outward can be secured, giving at the same time increased durability. 

This feature of the admixture of the varnishes used in the carriage-shop is 
of more importance than is usually supposed. However, a certain amount of 
judgment must be exercised in mixing them. Valentine's different varnishes 
will readily assimilate when mixed, which cannot be said of all others, and by 
tiiis means the time in which they will dry may be graduated; for instance, 
a job is promised to be done at a certain time, but it so happens that the few 
days left in which to finish it are rainy or bad drying ones, and the Wearing 
Body or Elastic Gear Varnish cannot be made to dry in time. We may add 
to either a little Hard-drying Body, or a little Quick Leveling, without per- 
ceptible detriment, and bring about the drying within the time allowed. To 
Black Japan either of these varnishes may be added to make it work 
freer, or to add durability; this is the result of using the same grade of oil in 
manufacturing all the articles. 

If the painter uses the goods of several different manufacturers, he cannot 
put the same dependence on his work, for he knows not which is adulterated 
with fish or cotton-seed oil, nor what degree of assimilation or " grasping " 
there will be between the coats; while with a pure and uniform oil, judiciously 
mixed throughout, from the foundation to the finish, he may rest assured of 
success, and be enabled to locate any difficulty he may experience, and remedy 
it in the future. 



THE AMERICAN METHOD OF CARRIAGE PAINTING. II 

The body being dusted ofif nicely, we now apply a medium heavy coat of 
Black Japan, using for the purpose bristle varnish-brushes, and working the 
japan — or " dressing it," as some term it — no more than is necessary to have it 
lay or flow level. It sets quickly, and the painter will no doubt find it rather 
difficult to work it easily at first ; but when it is understood, and the knack of 
putting it on acquired, a return to the use of black color-and- varnish will not 
be liable. 

As said before, it produces a jet black color, far ahead of ivory black, and 
rubs nicely for varnishing over. In " touching up " any " rubbed through " 
places, it is only necessary to first color with quick black, and then to glaze 
over the place with ordinary asphaltum thinned with turpentine, to produce 
the jet black color of the japan. We often hear the remark, " I don't see how 
those New-York fellows make their work look so nicely;" one-half the secret 
lies in the use of Black Japan on the black portions of the work ; and it is this 
intense blackness that " brings out " the beauties of the other colors in juxta- 
position to it. A lake or green will be improved if placed beside jet black, 
and many give credit to superior quality of pigments, when in some cases a 
poor one may have been used, but the appearance of the color was heightened 
and improved by its surroundings. 

The first coat of Black Japan should be allowed at least three days for dry- 
ing, when it will be found to rub easily for the second coat. 

The second coat may be diluted with a small quantity of Valentine's 
Hard-drying Body Varnish, and three or four days given for drying. 

The third and last coat of Black Japan may have from lo to 15 per cent, 
of Hard-drying Body Varnish added, and then, as it is time for the trimmer to 
put in the linings, the job can conveniently stand a week to harden before the 
final rubbing or finishing coat of varnish is put on. It will be seen that no 
dear rubbing ydxvc^ is used, and thus the color is not ^^ greened." 

After a thorough rubbing and washing, a coat of Valentine's Wearing 
Body Varnish is added, and this completes the painting of the carriage body. 



HOW TO PAINT A CARRIAGE GEARING. 

The wheels, beds, bars, etc., should be coated over with Permanent Wood 
Filling as soon as finished, before the grain of the wood is raised by the damp- 
ness of the air ; then wipe off as dry as possible with clean rags, and they are 
ready for the smith-shop. 



12 THE AMERICAN METHOD OF CARRIAGE PAINTING. 

The P.W.F. in this case acts as a preventive coat, and protects the wood 
from blacksmith's oil, dirt and water, or from springing or warping by heat, 
cold and moisture. 

When the gears come from the smith-shop, take No. 3 sand-paper, and cut 
down every part until nothing but clean wood and iron appear. The " pre- 
ventive coat" has done its duty, and the job is ready for painting. 

Now apply a medium heavy coat of P.W.F., "daubing it on roughly" 
over wood and iron alike, then proceed to wipe off with rags, being careful 
not to leave any P.W.F. on the surface, around the ends of spokes, etc. 
Run the job one side to dry, and give it 48 hours. 

Next putty up all imperfections, and open-grain places, but do not put on 
any more putty than you can help. Give until next day for drying, then 
smooth down nicely with ty^ sand-paper. Dust off clean, and apply a light 
coat of P.W.F. in the same manner as before. This closes the pores of the 
putty, and forms a film over those portions cut through by the sand-paper. 

Let all dry until next day, or, if there is plenty of time, give more ; then, 
without disturbing the surface, lay on an elastic coat of color. 

The first coat of color should have more oil in its mixture by 5 per cent, 
than is necessary to produce an egg-shell gloss. Give 48 hours for drying, 
then go lightly over with worn sand-paper, and smooth down ; putty any 
missed places, dust off, and lay on a coat of color proper. 

In all coatings of paint, use a camel's-hair brush, and apply no more paint 
than is sufficient to cover the ground. 

Next day, dust off and apply a coat of color-and- varnish, laying it on quite 
heavily with good bristle varnish-brushes. This color-and-varnish may be 
made by grinding the dry pigment in Hard-drying Body Varnish. If the 
job is painted black, Valentine's Black Color-and-Varnish may be used. Give 
from two to three days for drying. 

It will now be found that the job will look as if it would be a poor job 
when finished, from the fact that the grain of the wood is perceptible on 
many parts. But patience ! We have closed the pores of the wood against 
moisture ; we have smoothed it down and colored it, but have not up to this 
time made a glass-like surface, as in the old-fashioned way of painting. We 
desire to fill up the open grain with varnish, gum and oxidized oil, rather than 
with a dry porous pigment, for the gum will be elastic, and the severe strains 
to which the wood of a gear will be subjected will in no wise disturb the 
mirror-like surface we aim to produce. 



THE AMERICAN METHOD OF CARRIAGE PAINTING. I3 

Now rub over every part with curled hair, or, what is better, give it a 
light rub with pumice-stone and water, and apply a second jfowing cosLt of the 
same color-and-varnish. Give three or four days to dry, then rub down 
gently with pumice-stone, and stripe. When the striping is dry, lay on a coat 
of Hard-drying Body Varnish, give all the time possible to harden, then rub 
and finish with a flowing coat of Valentine's Elastic Gear Varnish; or if extra 
durability is desired, use instead, Wearing Body Varnish. 



HOW TO PAINT SLEIGHS. 

When the woodwork is completed, dust off and apply P.W.F. to all parts 
with an ordinary paint-brush; then begin the ''wiping off process " with some 
clean rags (sixpenny muslin torn into small pieces is best) ; rub over and wipe 
off every part of the work until the hand can be passed over the surface with- 
out soiling it, bearing in mind that the better the P.W.F. is wiped off, the 
quicker it will dry, or become fit for a coat of paint. Give the job twenty-four 
hours for drying, either in a warm room or in the sun ; then apply a coat of 
Valentine's Ground Rough-stuff.* When dry, putty up all nail and screw 
holes, and apply a second coat of rough-stuff having but little oil in it. Next 
rub down ; in the mean time the benches, knees and runners have been put- 
tied over the P.W.F., and are ready for sand-papering off, to receive color at 
the same time that the body is under way. The foundation is now laid, and 
two coats of color should be sufficient to make a good job. Now give a coat 
of color-and-varnish, moss off and stripe, then finish with a flowing coat of 
Valentine's Medium Drying Varnish. 

If a durable job is desired, the surface of the body, after being rough-stuffed 
and rubbed, should be coated with P.W.F., and wiped off the same as directed 
for carriage bodies, but in cheap work this may be dispensed with. 



HOW TO PAINT CHEAP WORK OR WAGONS. 

In the case of cheap work or business wagons, first put the P.W.F. over 
the wood in the same manner as before directed. Then wipe off well, and send 
the work to the smith-shop. When ironed, the P.W.F. will be quite dry. Next 

* Home-madeRough-stuff of English Filling, or Reno's Umber, may be used if a good 
share of oil be used in the mixture for first coat. The advantages of Valentine's Prepared 
Rough-stuff are expressed on page 5. 



14 



THE AMERICAN METHOD OF CARRIAGE PAINTING. 



lightly rub over the wood with fine sand-paper; putty up all openings smoothly, 
and apply a very light coat of P.W.F. over all, wood and iron alike. Give 
twenty-four hours for drying. Next apply the color, say green on body panels, 
and vermiUon on gears. One coat may suffice ; then apply two coats of color- 
and-varnish, rubbing lightly after each coat. When dry, stripe and letter, and 
finish as ordinarily. 

Repair Work may be done in a similar manner, and this method, besides 
allowing a saving in time and material, makes a more durable job than, the 
process where lead color is used as a priming. 

On Hurried Work, such as repairs to a wheel, apply P.W.F., wipe off 
well, knife over the parts with soft putty, smooth down with the back of a piece 
of sand-paper, and immediately lay on color and varnish, made strong enough 
with color to cover. When dry, moss off and apply the finishing coat of 
varnish. 

Never be Afraid of trouble from the use of P.W.F. when it is well wiped 
from the stirface, and judgment is used in the application of the next coat, in 
not applying quick-drying color. 



GENERAL SYNOPSIS OF THE AMERICAN METHOD, 



FOR CARRIAGE BODY. 



£5/^%, Apply P.W.F., and wipe off, . . For drying, 


give 48 


3^ " 


First coat of rough-stuff, a little oily, . 


" 48 


5^ " 


2d " " ordinary. 


" 24 


eth " 


3d " " '' ... 


" 24 


1th " 


4th " " « ... 


" 24 


Wi " 


Stain coat over rough-stuff, .... 


" 24 


9//i " 


Rub down with pumice-stone. 




xoth " 


P.W.F. rubbed over and well wiped off. 


" 48 


x-zth " 


ist coat of color or lampblack, .... 


" 24 


xzth " 


2d " " ivory black, . . 


" 24 


ra^th " 


ist coat of color-and- varnish or Black Japan, 


'■• 48 


i6//i " 


2d " " " '' . . 


" 48 


\Zth " 


3d " " " " . . 


" 48 


loth " 


Finishing coat of Wearing Body Varnish. 





honors 



THE AMERICAN METHOD OF CARRIAGE PAINTING. 



15 



If an extra durable job is desired, give the Wearing Body Varnish one week 
to harden ; then Hghtly rub and apply a second coat of the same Varnish, being 
careful to apply the varnish immediately after rubbing, and before the surface 
has had time to sweat. 



FOR CARRIAGE GEARING. 

xsi day, P.W.F. put on the completed gear, and wipe off, 

2^d " Putty up all open-grained places, 

4.t/i " Sand-paper, putty, and put on P.W.F. again, 

6f/i " Apply color or lampblack, • . . . 

7//? " Apply color-and-vamish quite strong, 

gi/i " Rub and give second coat of color-and-varnish, 

ii^/i " Rub down, stripe, and ornament, 

i2t/i " Give coat of rubbing varnish, 

[4//^ " Finish with Elastic Gear Varnish. 



give 48 hours. 

24 

48 

24 



24 
48 



The above time is given as the minimum or shortest possible time to do b 
first-class job, but as the painter will generally have more time to spare upon 
the job, he may divide it, giving the extra time for the P.W.F. and the varnish 
coats to harden. 



FOR SLEIGHS. 

\stday, Coat P.W.F. all over, .... 

2d " ist coat rough-stuff, 

4^/1 " 2d " " ordinary, 

5//^ " Rub body, sand-paper runners, and putty same 

6M " Color all over, ... . - 

6fh " 2d coat of color all over, .... 

jl/i " Color and varnish all over. 

8f/i " Stripe and ornament. 

9/A " Rubbing varnish all over, .... 

10//^ " Finish with Medium Drying Varnish. 



give 24 hours, if well wiped. 
give 48 hours. 



24 

6 

18 

24 

24 



1 6 THE AMERICAN METHOD OF CARRIAGE PAINTING. 

This, kind reader, brings us to the end of our journey through the New- 
York carriage paint-shop, and ere we part company let us say that, in return for 
your patience in giving us a hearing, as we have rambled through the Body and 
Gear Rooms, we promise to give you any further information on the subject 
that we are possessed of, should you ever feel disposed to ask it. We would 
also take pleasure in opening, and in keeping open, a correspondence with 
you relative to our art, to the end that we may be of mutual service to one 
another, and that the bonds which hold us in the fraternity may thereby be 
more firmly cemented. Prompt replies to all such inquiries will be made 
public through The Hub, in the department known as " Valentine's Letter 
Box." 

Yours truly, 

FRANKLIN B. GARDNER, 

Formerly Superintendent of the Paintijig Department in Brewster b' Co.'s 
{of Broome Street) New- York Carriage Factory, 




The Deviltries of Varnish. 



PREFACE.- 



PROBABLY no essay on the subject of painting or varnishing was ever 
so widely distributed as the following, entitled " The Deviltries of 

Varnish." 

Its history is as follows : It was originally written by Mr. Geo. W. 
W. Houghton, Editor of The Hub, as a review of sixteen essays that had been 
received by that magazine in response to a prize offer of $300. This review 
was first published in the Painters' Magazi7ic, New- York (1876), and perhaps 
2,000 copies sent out. It was next reprinted in The Hub (1876), and 3,500 
sent out. The present publishers then took it in hand, and printed 10,000 
copies in book form; it was also translated, and 5,000 copies of a French, and 
2,500 copies of a Gennan edition were published. The Paint and Oil Review 
and other periodicals have reprinted it in full. 

It presents, in a brief and readable form, the latest facts and theories re- 
garding the conditions under which varnish is liable to give trouble to the 
workman, and suggests means of curing such misdemeanors or " deviltries," 
and of avoiding their recurrence. 

In preparing for press this, the fourth edition of the essay in book form, Mr. 
Houghton has carefully revised it, making numerous corrections and additions 
which seemed necessary to bring it up to date. Those who are fully conver- 
sant with the facts contained in previous editions will therefore do well to 
read this with equal attention. 

The publishers will be pleased at any time to receive further facts regarding 
the points discussed, from any of its readers who find reason to differ in opinion, 
or who have further facts to offer. 



THE DEVILTRIES OF VARNISH; 



THEIR CAUSE, REMEDY AND PREVENTION. 



IN a previous review (see Vol. XVIII. of The Hub^ pages 388, 430 and 
470), the writer has described, at length, the various troubles which the 
painter encounters in connection with the use of Colors, and offered practical 
suggestions as to the precautions that should be taken to avoid them. The 
following is a similar review of the difficulties attending the use of Varnish, 
most of the facts presented being collated from a series of sixteen prize essays 
on this subject, which were written by as many practical carriage and car 
painters, English as well as American. 

These writers mention fifty-five (55) technical names for varnish misde- 
meanors {pv.Q writer enumerates 21) ; but we discover from the context that 
many of these are but aliases for the same trouble, and we have thus been 
able to reduce the total to twelve which may be considered as typical. These 
again might be reduced to three sub-classes: (i) those due to poor materials ; 
(2) those due to unskilled or careless workmanship; and (3) those due to 
unforeseen and accidental agencies of the weather or atmosphere. The line 
of demarkation between these causes would not always be clearly defined, and 
we will therefore adopt the simpler method of introducing the troubles in the 
order wherein they would naturally present themselves to the workman. 

I. GOING "SANDY," " SEEDY," OR " SPECKY," INCLUDING. REMARKS UPON 
" CHILLING." # 

Definition. — These terms are applied when the varnished surface appears 
as if fine sand or seed had been sprinkled over it. 

Causes. — Looking first to the varnish itself, we find that a newly made 
varnish, which has not had sufficient time to ripen, is liable to make work 
look " seedy," but an experienced workman will generally be able to detect, by 
its working, that it is not in condition to use ; if set away in a warm place and 
allowed to mature, this trouble will in a few months be corrected. To use 
varnish from a freshly-opened can, without first uncorking it and allowing 
fifteen minutes' exposure to the air, that the " spirit of varnish,"" as it is called, 
may evaporate, will sometimes cause a specky finish. " Chilling " of varnish, 
liable to occur during cold weather, is one of the most common causes of a 
sandy surface. One of the sixteen essay writers, already referred' to, says : 

" In cold weather, after you have varnished your joby and after it has^ become set, you 
will sometimes observe it to be full of specks, and as it dries, these Avill become more 
apparent, presenting the appearance as if some person had taken a pepper-box, and given_ it 
a good peppering. This is caused by the oil in the varnish, in connection with the dryers with 
it is made, becoming chilled." 



THE DEVILTRIES OF VARNISH. 



" Chilling " may readily be avoided by having a warm varnish-room, and 
by storing the varnish in a warm place, or, where this is not convenient, by 
setting the can near the stove for an hour or so, previous to varnishing. 




" Why dojit you send for one of our Thermometers ? ' 



H-TlW 



" Chilling," and consequent " sandiness," may also be caused by exposure 
of varnish to extreme cold during shipment, or by long storage in a damp or 
exposed place. This will affect its working, or, in more severe cases, the par- 
ticles of dryer may be crystallized from the state of solution, and fill the varnish 
with specks, which are often incorrectly thought by painters to be particles of 
uncut gum. Exposure to warmth will generally remove this evil, and a 
varnish that is " specky " in February may nearly always be cured of the 
fault by setting it away in a warm place until May or June. 

Next remember that all varnishes deposit more or less settlings when left 
standing for a long time, and, for this reason, when seven-eighths part of a 
can of finishing varnish has been used, the remainder should be set away for 
less particular purposes. Varnishes improve by age up to a certain point, 
after which they become fatty — often too fatty to use — but they never become 
seedy or sandy by reason of age. 

Specks are also liable when varnish is allowed to skin over. Some varnish 
will skin over although the stopper is kept constantly in the can, and this skin 
being broken and mixing with the varnish, will cause it to look sandy or seedy. 

Three other common causes of specky work may be mentioned, namely : 
(i) dirt upon the job, as pumice powder; (2) dust present in the air, particularly 
liable in loosely-built shops during windy weather; and (3) specks or "lice " in 
the varnish-brush, due to a variety of causes, which every experienced painter 
ought to understand. ■ These few hints may be valuable in this connection : 
have solder run into the rivets in the tin of your brushes, and smoothed off; 
turpentine or oil in the brush will sometimes produce specks ;• or if turpen- 
tine be used to thin the varnish, the same result may follow. 



THE DEVILTRIES OF VARNISH. 



Definition. — " Sweating" is the technical terra apphed to a greasy gloss 
which often makes its appearance upon a varnished surface, after it has been 
rubbed and allowed to stand for some time. 

Causes. — This so-called " sweating " is the reappearance of the gloss of the 
varnish after it has been removed by rubbing. It shows that the varnish is not 
thoroughly hard, and in the hands of an inexperienced workman it may lead 
to serious results if varnished over, causing pitting, icicling, or a variety of 
other troubles ; one writer has recorded the following : 

"The sweating of rubbing varnish is a common occurrence, taking place after the var- 
nish has been rubbed with powdered pumice, over which, if the painter is inexperienced, he 
may immediately varnish, and he is quite astonished at the rough appearance of tlie coat, 
which he has just applied over what he thought was a nice, smooth surface, and he exclaims ; 
' That varnish is not worth a cuss ; it's all sagged-in ; it's all enameled!' Another says it's 
' punky ;' another that it's ' gone livery,' or ' crinlded up,' or ' like corduroy.' " 

Preveniioii. — Bear in mind that varnish is always liable to sweat if placed 
over color or varnish that is not thoroughly dry. If, over a carefully prepared 
ground, it still does so, the varnish is perhaps at fault ; but do not too hastily 
condemn the varnish, for it may merely require more time to harden. Re- 
member that, as the proportion of oil is increased, so is the liability of the var- 
nish to " sweat," and the most durable varnishes are therefore most liable to 
give trouble in this respect. Several painters have enlarged upon this fact, one 
of them remarking : 

" In consequence of not rubbing finishing varnish, sweating does not make its appear- 
ance ; however, if fmishing varnish should be I'ubbed in a week or two after the job was var- 
nished, it would sweat, and sweat badly." 

Now, it is not the sweating that we are concerned about, but the various 
deviltries liable to show themselves as soon as a subsequent coat is applied. 
How shall we remedy these ? 

Capt. M. O'Connell, of this city, gives in the following a few simple direc- 
tions, which, if carefully observed, will obviate all danger. He says : 

" As a precaution, in case of a job liable to sweat, allow it to stand four or five hours, if 
in summer, or overnight if in winter, after being rubbed, by which time the sweat will make 
its appearance. After it docs this, allow it to stand just as long as you can before varnishing, 
and rub the sweat off with fine pumice or an old pumicr-rag, else you will have trouble if you 
finish loo soon, as your finishing coat may have a specky appearance all over, or fine brush- 
marks will show themselves." 

Let us add, that varnish should ordinarily be applied as soon after rubbing 
the previous coat as possible. 

3. " RUNNING," " SAGGING," " CRAWLING," ETC. 

Definitions. — " Running " or " sagging " are terms applied to an uneven 
surface of varnish, produced by its flowing down. These two are generally 
due to unskillful handling of the varnish. " Crawling," allied to the above, 
may be caused by varnishing over an oily, glossy surface, or over a sweaty coat 
of varnish ; this is not likely to be the fault of the painter. Crawling may be 
prevented by washing the work before varnishing, or by rubbing with curled 
hair or a damp shammy. In revarnishing a job which, to all appearances, 



22 THE DEVILTRIES OF VARNISH. 

was finished with English varnish, it is generally best to first rub the surface 
well and apply a thin coat of rubbing varnish ; then, when dry, give a light 
rub, and with these precautions, the finishing coat of high-grade varnish will 
not crawl or blotch. Crawling may also be caused by touching the work with 
perspiring hands, in which case it will occur more particularly on the frames, 
which are most handled ; previous to finishing, every job should for this reason 
be cleaned by rubbing with pulverized pumice or rotten-stone (the latter is pre- 
ferable, being finer), which will remove this source of trouble. Varnish is also 
hable to crawl or draw when applied to work that is cold, or when applied in a 
room that is cold or damp. 

" Crinkling up " or " wrinkling " must in some instances be attributed to 
varnish that is too new, and therefore in buying varnish, especially for finishing, 
preference should be given to that which is well ripened. One painter re- 
marks, as the result of his experience : 

" To produce best results in finishing work, I think the varnish should be at least a year 
old, and varnish of that age will save the finisher much annoyance, as he will not be so liable 
to have his work crinkle or pucker up. When this does occur, these crinkles should be partly 
cut away, and faced down with lump pumice and a little oil or water ; and then i-evarnished. 
or touched up and varnished." 

Inexperienced workmanship is also a frequent cause of puckers or crinkles 
in finishing varnish, the painter not having brushed the varnish equally all 
over, and consequently leaving more varnish in one place than another; and 
when this occurs, the excess of varnish must crinkle up, for obvious reasons. 

" Curtaining " indicates the running or sagging down of the varnish, partic- 
ularly about moldings, ornaments, etc., in forms resembling curtains or fes- 
toons; this trouble is sometimes spoken of as "festooning." The cause may 
in some instances be the use of varnish that is too new, but " running " and 
" curtaining " are generally the faults of apphcation, sometimes by reason of 
using a brush that is too soft and inelastic, whereby, being spread unevenly 
over the panels, the varnish is left thick in some places and thin in others, and 
will overlap and run, particularly around corners and edges. Such runs about 
the edges of moldings are commonly termed by painters — with greater force 
than elegance — " snots." The brush should be elastic to work the varnish 
well over the panels, and the coat should be laid as expeditiously as possible, 
to avoid setting or thickening of the varnish before it has been spread evenly. 
A slow-drying and durable varnish, containing a large proportion of oil, is 
more liable to run and streak than one which is harder-drying and heavier in 
body, and for this reason the highest grades of varnish require most brushing 
up, or " dressing," as it is termed. A thin, lirnpid varnish, well dressed by an 
experienced workman, will always flow out best, and make the most brilliant 
surface. 

The theory of " wrinkling " is well explained by one painter as follows : 

" Wrinkling is caused by a too heavy flow of varnish ; the outside surface absorbs oxygen, 
and, drying, forms a skin over the larger mass of varnish; this, in turn, gives up a portion of 
its volatile oils, which lessens its bulk, and the outside skin, thereby becoming larger than 
necessary to cover the imder mass, draws up in ridges or wrinkles, somewhat resembling the 
wrinkling of the skin in old age." 

" Going silky " or " enamehng," applied to a varnished surface presenting 
a fibrous or textile appearance, as of silk or enameled leather, is another trou- 



THE DEVILTRIES OF VARNISH. 



*-$ 



ble that painters frequently meet with ; but one writer expresses his tGnvicikm 
that " none are annoyed by it except those Avho work or finish in a poorly 
heated room, in which case you can hardly give your varnish sufficient brush- 
ing to keep it in its place ere it commences to silk." Of course, the colder 
your room, the less time you have to dress your varnish, and the less oppor- 
tunity to insure a level surface. The temperature of a varnish-room should 
range between 70 and 80 degrees Fah., and should be kept as uniform as pos- 
sible, not only Avhile varnishing, but during the processes of setting and drying. 
Varnish is also liable to " go silky " when the under coats are not well dried. 
Mr. F. B. Gardner relates the following case of " silking," which occurred 
during his early experience in Tarrytown, N. Y., which clearly points out the 
effect and cause in one instance : 

" I have had varnish become ' silk)^ ' on one side of a body, while the other parts remained 
in good condition; and, by following it up, I found the cause to be a current of cold air, pass- 
ing between the body and the side of the room, from a crack between the base and the floor ; 
and when this was caulked tight, I never saw another case of * going silky' or ' enamehng ' in 
that varnish-room. This maynot be the only cause, but it is well to know that it is one of the 
causes, and it is llierefore beSt to have bodies raised at least thirty inches from the floor, to se- 
cure the varnish panels from draughts of cold air, which, if they exist at all, commonly lurk 
near the floor." 

The admixture of turpentine with varnish is also a common cause of " silk- 
ing ;" and brush-marks, the result of working the varnish too long, often leave an 
effect similar in appearance. 

The next two terms will probably be new to American readers, but they 
deserve a place and full description in this category. 

" Syssing " is a term used by English carnage painters, being synonymous 
with " crawling," as used in America, but applied more particularly to this 
trouble in connection with repair- work, and under certain conditions which will 
be described. Mr. Charles S. Middleton, the London correspondent of T/ie 
Hub, gives the following instructive account of this evil, and the method em- 
ployed in English paint- shops to avoid it: 

" ' Syssing ' is one of those evils that occur in jobbing work. It is a common plan for an 
English painter, when a job is brought to him for varnishing only, to give it a thin coating, 
first of a mixture consisting of gold-size, z>arnish and turpentine, made up as wanted to dry.* 
The object of this is to kill any gi'ease that may be hanging around it, and the effects of sweat- 
ing. Without this intermediate coating, the varnish will be liable to run in lumps, which is 
caUed 'syssing,' and of course the job will be spoiled, there being no remedy but to rub oft 
the varnish, and varnish again properly. The painter may save himself the trouble of flatting 
over this mixture, by putting about two tablespoonfuls of turpentine into a pail of water and 
washing off with this, wliicli will enable him to lay his varnish on all right. But varnish will 
also ' syss ' on new work if it be laid on without previous flatting, or on a ground imperfectly 
flatted; or if the ground be flatted one day and varnished the next, without giving it another 
rub over, the oil of the color being likely, in the mean time, to rise to the surface." 

" Icicling." — Mr.Wm. J. Eraser, a practical painter of Rochester, N. Y., first 
introduced the term of" icicling," and he gives below a detailed description of 
a variety of "runs" to which he appropriately applies this descriptive term, 
caused by the "sweating" of little nibs that have been rubbed out of the rub- 
bing coat, leaving softer varnish beneath. He says : 

" ' Icicling ' may seem a strange name to call any thing connected with painting, but it is 
the only thing I can liken this evil to, as it resembles a myriad little icicles all over the job. 
I have met several who declare them to be runs from nibs or lumps, but this is a mistake, as 
there is a clear difference in their appearance, and an observing eye will find that the following 
is the true cause of this evil. When the last coat of rubbing varnish is rubbed, not being 

* It would hardly be proper to put in print the English term for this mixture ; it has been used to some 
extent by coach-painters in this country under the name of " cider." 



24 THE DEVILTRIES OF VARNISH. 

thoroughly hard, the nibs or hiraps immediately commence to sweat out or gloss ; and when 
the work is finished in this condiiion, every one of tliesc liulc nibs will produce upon the sur- 
face of the subsequent coat an elongated drop rescniljling an icicle. 'J'o avoiil this, no job 
should be finished on the same day it is rul)l)ed, tlumgh it may be finished on the next day, if 
required; biit never omit using the pulverized rotton-stone, water and cloth before varnishing, 
which is a never-failing remedy for ' icicling.' " 

4. " PIN-HOLING," " PITTING," " BLOTCHING," ETC. 

Dej^ni/mts.— These three terms denote relative degrees or stages of the 
same general deviltry, and their appearance may be defined as follows : 

Pin-hohng. — This term is applied to the condition of a varnished panel 
showing a surface disfigured by innumerable small indentations, resembling 
pin-holes. 

Pitting. — The same as pin-holing, but with the indentations more strongly 
marked. 

Blotching, or Pock-marking. — Still more marked, presenting the appear- 
ance of very large scars, as of pock-marks on a person's face. 

Causes. — Mr, J. C. Shettsline, master-painter in the Union Passenger Rail- 
way Shops, Philadelphia, offers the most comprehensive list of influences which 
are liable to induce this class of deviltries. He says : 

" The defects known as pitting, pin-holing, curdling, wrinkling, enameling, drawing up, 
and going stringy, are mainly due to the same general causes, namely: I. Change in the 
atmosphere from dry to damp ; 2. Mixing two kinds of varnish of different grades or different 
makers; 3. Excessive heat or cold ; 4. Varnishing over color or varnish which has not become 
sufficiently dry ; or, 5, which is sweaty; 6. Varnishing with the floor very wet, or damp and 
cold from other causes; 7. Placing cold or damp varnish on warm panels, or vice versa (by 
'damp varnish'. I mean varnisli that has been kept in a cellar or other damp or cold place) ; 
and 8, another common cause is the lack of proper ventilation, and of maintaining a uniform 
temperature." 

Another writer adds his theory in regard to " Cause No. i," as enumerated 
by Mr. Shettsline, saying : 

"A sudden fall of temperature in summer will cause the pin-holing or pitting of varnish' 
especially if the varnish-room is saturated with water, which, being evaporated by the excessive 
heat of the varnish-room, is held in suspension by the air, and then let loose in the form of 
minute drops of rain upon the varnish while still wet ; when the temperature falls rapidly, as 
it does at times, during the summer months, these little drops being heavier than their own 
bulk of varnish, sink, and the varnish retreats from them, causing the pits." 

In such a case, a fire should at once be made in the varnish-room stove to 
evaporate these minute drops of water; if this is not done, the work must be 
rubbed with ground pumice, and revarnished, and it often requires two coats of 
rubbing varnish to fill up the pin-holes. In summer-time throwing up all the 
windows will sometimes stop " pitting." In the opinion of Mr. G. C. Cornell, 
of Quincy, III, " pin-holing" and " pitting " are generally caused by oil present 
in the brushes, owing to their not being carefully wiped out when taken from 
the keeper. Let us note here that varnish-brushes ought never to be kept in 
oil, but in the grade of varnish which they are used to apply. Several painters 
give a warning in regard to brushes. One says : 

" Blotching may be occasioned by 'preparing' the varnish, or by presence of turpentine 
in the varnish-brush; and if a painter kept his brush in a mixture of turpentine and oil, he 
might confidently expect to see his panels ' blotched ' when varnished." 

Mr. F. B. Gardner, in his prize article upon the " Care of Varnish- 
Brushes," makes this excellent remark : " Varnish, as a general rule, is deli- 
cate in its choice of company. A little turpentine, a little oil, or a little 
of any thing, except its own kind, will make it liable to pit or crawl, or 
flake, or cut up up some caper, and that dangerous little is frequently supplied 



CALENDAR FOR 1879. 



JANUARY ... .Begin the lose of the American Method, 
if you have not already done so. 

FEBRUARY. . .Look out for currents of cold in the varnish- 

7^oom. 
MARCH Dust is effecttially prevented from settli^ig 

on work by the tise of a good ventilator. 

APRIL Do7it take down stoves yet ; the nig J its 

are cold, and varnish is tender. 

MA Y ''Sweating'' may occur during this mojtth ; 

to prevent it, varnish as soon as rubbed. 

JUNE Look out for flies ; see page j6. Keep 

varnish-room as dark as possible. 



JULY 
AUGUST 



. . Mud-spotting is liable to occur ; see p. j^. 



SEPTEMBER. . Prepare heatiitg arra^igements for varnish- 
room. 

OCTOBER Keep up heat in varnish-room to 75 de- 
grees, by the use of steam., gas-stove, or 
base -burner. 

NOVEMBER. . .Revarnish the sleigh stock on ha7id. 
DECEMBER. . .Look out for specky varnish ; see page ig. 



26 THE DEVILTRIES OF VARNISH. 

by putting into the varnish-cup a brush fresh from a bath of another liquid, as 
of oil." 

The presence of sugar-of-lead as a drier, in the color-coats beneath the var- 
nish, is also thought to be an occasional cause of " pitting," and instances 
are detailed in one of the manuscripts before us. The best way to avoid this 
source of trouble is to avoid the use of sugar-of-lead, substituting Japan Gold- 
Size. One writer says : 

" When sngar-of-lead is used as a drier, it should be ground exceedingly fine. Our painters 
use it with lakes because it does not affect their color, but, for fear of causing pitting, they take 
care not to use it in their glaze color, oi-, more correctly speaking, in their varnish color. If 
they use it in the oil color preceding the varnish color, they take care to thoroughly cleanse 
both pot and brush, if they do not use another pot and another brush, before proceeding with 
the varnish color coats." 

Japan Gold-Size, however, would still be preferable. A fourth writer adds 
the following facts in this same connection : 

" ' Pitting ' — or something very similar in effect — may be occasioned by using varnish too 
new, because the driers used in its manufacture are for a long time held in suspension, and 
their presence may produce these troubles. The same characteristics will be exhibited if the 
painter uses up his varnish too close to the bottom of the can, owing to the settling of 
driers." 

We have already mentioned that the dregs of a can of finishing varnish 
ought always to be laid aside for common work. 

Finally, Capt. O'Connell, of New-York, relates the following two instances 
of " pitting " which occurred during his experience, and which the reader will 
find interesting and suggestive. First example : 

" I once heard a workman venting his indignation against some varnish which had always 
worked well before, but now it would shame small-pox. The trouble was this : it was a 
windy day, the shop very insecure, and he had deluged with water the floor of his varnish- 
room, which was heated to about 90 degrees Fahrenheit. Evaporation filled the air with mois- 
ture, which, with the overheat, caused the difficulty." 
Second example : 

"I once placed some bodies, just finished with English varnish, with the back panels 
downward, and the body-loops resting on the floor, which had been wet down, for safety from 
dust. Next morning they were a pitiable sight ; beginning near the centre of the body, which 
was about two feet from the floor, the pock-marks increased in depth and frequency to the part 
nearest the floor, where it was a complete blotch, while above the centre the varnish was not 
disturbed. The cause was plain : cold and dampness at the bottom, dryness and warmth 
above." 

And the same writer adds : 

^' A dry, v/arm atmosphere is the best safeguard against many of the ills that beset the 
varnish-room, pitting included." 

We will now turn to a class of varnish troubles which are due more partic- 
ularly to lack of care on the part of the painter, rather than to the materials 
used. 

5. " DEADENING," OR " SINKING-IN." 

Definition. — " Deadening," " going in," " sinking in," " perishing," " wither- 
ing," " grain showing," " sadding down," or "saddening," " striking in," and 
" going sleepy" (the latter an English expression) — these are a few of the many 
terms applied to one serious deviltry on the part of varnish, in which it loses its 
brilHant looking-glass surface, and becomes dull and lustreless. 

One writer, taking a rather gloomy looking view of the situation, expresses 
his conviction that '■'■ at least thirty per cent, of all the carriage work done in 



THE DEVILTRIES OF VARNISH. 27 

the United States results in ' sinking-in.' " He must have had pretty hard 
luck, we fear, in his individual experience. There can be no doubt, however, 
that the trouble is exceedingly common, and that it puzzles even the best 
painters to avoid it on all occasions. Another writer endeavors to picture a 
more cheerful aspect of the case, by arguing at some length that the durability 
of varnish is not necessarily affected by its deadening, and he adds: 

" The durability of a varnish is not lessened by lack of lustre, as the fault may all lie in 
the manufacture, not in the materials used, but in proper proportions." 

This hardly lessens the difficulty, however ; and we cannot agree with him 
in tloinking that faulty manufacture is the common cause of this trouble ; in- 
deed, our observation leads us to believe it is very seldom the cause, but that 
the painter is nearly always to blame for this misdemeanor. We will now go 
on to explain the usual conditions under which deadening occurs, allowing a 
practical painter to illustrate each in his own words. 

Common Causes. — First, from unseasoned timber. Says one, first quoted 
under this section : 

" Green timber will produce deadening ; but then, as most timber is dry, this would not 
make up the thirty per cent, of work which sinks in." 

Second, from undercoats of paints or varnish that are imperfectly dried. 
Mr. Wm. J. Fraser says : 

" Sinking-in or withering is a very prevalent deviltry, especially where the painting is hur- 
ried too fast, more especially the varnishing part; because,, if the undercoats of varnish are 
not thoroughly hard before the finishing-coat takes its position, then when the first coats do 
sink, as they must in order to harden, the finishing must follow, and alas ! you look in vain for 
lustre." 

It is for this reason that a moderately hard coat of leveling varnish is pre- 
ferable to finish over. Another offers similar testimony, saying : 

" Go into your repository and examine carriages that have been finished six or eight 
months; look at them closely in a good, strong light, and you will, in many cases, see the 
grain of the wood, which seems almost impossible after receiving so many coatings. Now, I 
claim that most of this results from soft elastic rubbing varnish, that had not half time to 
harden.'" 

And still another adds : 

"Even though you finish on a poor rubbing varnish, hard and dry, you are much safer as 
regards deadening, etc., than though you had finished on a good one that was soft and not dry." 

Third cause, from absorption by dead and porous undercoats. Mr, B. R. 
Carpenter, of Groton, N. Y., offers the following valuable testimony on this 
point : 

" The perishing or sinking-in of varnish, I believe, is often caused by absorption by the 
undercoats of paint. Bodies commonly have from three to five coats of rough-stuff, a portion 
of which is removed by facing down ; to this, two coats of dead color are added, which have 
little or no elastic qualities, but possess great power of absorption. I have often seen the first 
coat of rubbing- varnish, when apphed to such a surface, so robbed of its elastic quality that it 
could be removed by the thumb-nail easily, being dry and brittle. Is it unreasonable to sup- 
pose that, in such a case, the succeeding coats of varnish will be affected, even to such a de- 
gree as to destroy their brilliancy and durability ? If this be true — and I certainly believe it 
is — then the following metliod will prevent it, and will add to the brilliancy of the finishing 
coat. After the body is rubbed down, apply a coat of some oily fining or priming that will 
stop the pores of the rough-stuff (for the best of rough-stuff is more or less porous) ; allow it 
to stand two hours, then rub with a cloth to remove the superfluous filling ; let stand twenty- 
four hours, then apply color, which should be made sufficiently elastic with varnish — say vnth 
an ' egg-shell gloss ' — to bind it firmly, and cause it to ' bear out ' the following coats of 
varnish. " 



28 THE DEVILTRIES OF VARNISH. 

By referring to page 4, the reader will find that Mr. Gardner, in describing 
the " American Method of Carriage Painting," has made a special point of the 
necessity of closing the pores of rough-stuff by applying over it a thin coat of 
Permanent Wood Filling. 

Mr. Middleton remarks that varnish is apt to " go sleepy " (the English 
term for sinking-in) when applied over too quick drying colors, more especially 
ultramarine blue, and the best way to avoid this is to make the colors more 
elastic, and consequently less porous, by adding more oil and less drier. Still 
another writer touches this point when he says briefly : 

" What is wanted is uniformity of coats throughout, all being made elastic, for by this 
means only can varnish be made to stand out well." 

A fourth cause of deadening, well worthy of attention, is thus explained by 
Mr. Carpenter, quoted above : 

"All varnish contains gas, and new varnish will deaden when applied to a job (giving it 
the appearance of having been breathed upon), unless time is given for this gas to evaporate 
by exposure to the air. It is my habit, when preparing to finish, always to take out my var- 
nish at least an hour before using." 

6. " CHIPPING," " FLAKING," AND " SCALING " OR " PEELING." 

Definitiojis. — These terms all indicate the partial separation, more or less 
marked, of one varnish coat from another, or of the varnish from a coat of 
paint or other ground. They are often used to express a difference in degree; 
thus, when the varnish flies off in small particles, it is spoken of as " chipping;" 
if in larger pieces, that is " flaking ;" while "scaling" and "peeling" are ap- 
pHed to still worse cases of the same sort. 

Causes. — In many cases of this kind the varnish is condemned ; yes, con- 
demned before it is found guilty, and banishment from the shop is the sentence 
pronounced against it. It is true that the varnish may be at fault, but we be- 
lieve this is not the most common cause of " chipping." " V/hat is, then ?" 
asks the reader. We answer : '■'■Lack of uniformity between the different coats in 
regard to elasticity^ and the application either of an elastic over an inelastic coat, or 
vice versa.'' It takes an experienced and careful painter to judge correctly as 
to what is required in this respect, but whether he has mastered his art or not, 
he can produce chipping "to order," easily by disregarding the rule of gradually 
building up from an elastic ground to a firm surface. We are inclined to 
criticise many of the remarks, in the essays before us, which bear on this sub- 
ject. One painter asks : 

" Is it not suggestive Avhen I say that varnish will not chip or flake on an elastic sur- 
face ?" 

We answer : Yes, suggestive of the fact that you do not fully understand the 
cause of " chipping," because an inelastic coo-t of varnish over your elastic sur- 
face would be more than apt to chip or flake, for the same cause of such separa- 
tion would remain — namely iiicongruity. Several good suggestions are offered, 
however. One remarks that varnish will flake from color that has not had 
time to dry, and has a gloss ; or, rather, it will crawl off in the first place, and 
then chip off at last, with no fault on the j^art of the varnish ; and another 
goes on to explain, that " if the removal of grease or sweet-oil from any part 
of the work has been neglected before applying a coat of color, the peeling or 
chipping of such color is certain from those parts of the carriage where tlie 
grease was allowed to remain." A surface that has been smoked in the smith- 



Do you use one thiu coat of Fermanent Wood 
Filling instead of four coats of Lead and Oil for 
-priming ? 

Do you heat your P. W.F. before putting it on ? 

Do you priine your {Rough-stuff) with F. W.F. ? 

Do you use Valentine's Blach Japan instead of 
the old Color and Varnish ? 

Do you use Valentine's Ivory Blach ? 

Do you heep your hii^tshes clean hy using Valen- 
tine's Brush-holder ? 

Do you regulate the temperature of your var- 
nish-room luith one of Valentine's Thermometers? 

Careful attention to these little details is one of 
the secrets of avoiding "Deviltries." 

The use of harmonious and congruous materi- 
als, such as are supplied hy some one system, is 
another. 

We aim to collect all the information possible 
upon the best methods of painting and varnishing 
and avoiding "Deviltries," and solicit suggestions 
upon these subjects. 

We propose to supplement this by supplying 
Varnishes as nearly perfect as we can mahe them, 
and to constantly mahe such additions as shall in 
time mahe as nearly complete a sy stein of materi- 
als as is possible, as a basis of perfect painting. 



20 THE DEVILTRIES OF VARNISH. 

shop will often cause chipping, as it prevents a close connection of the paint 
and its ground. Blisters are also attributed to the presence of grease or oil m 
excess, which has not been removed from the surface. Chipping or peeling 
may also be caused by the presence of an alkali — for instance, of potash used 
to remove old paint— and also by wasliing with soap suds, and not thoroughly 
cleansing the surface afterward. The following warning is given : 

" Rub a piece of hard soap over a varnished spoke, and let it stand for two or three 
davs • at the end of that time you can easily chip, peel, or flake the varnish off with your fin- 
ger-nail; therefore, it will be well for the painter to avoid using soap in the rubbing of varnish.' 

It should be mentioned that soap is sometimes necessary, as in cutting down 
runs, but in such cases the work may be thoroughly rinsed off and all risk 
avoided. Cracks oftentimes admit moisture, and cause the paint or varnish 
along their edges to chip off. 

Another kind of chipping is mentioned by a correspondent, which we will 
let him explain in his own words : 

" Experience has taught me that there are tvv^o kinds of varnish chipping, yet many 
painters confound the two, though they are entirely different ; and yet to the eye they bear a 
close resemblance, especially when the carriage has been run. In cases of the second kind, it 
will be observed, upon close inspection, that the color-and-varnish has chipped from the color, 
of course taking with it the finishing coat of varnish. I have seen many cases of this kind— 
indeed, it was a common occurrence three or four years ago, whenever a certain prepared 
color was used." 

Lakes sometimes produce chipping. Poor japan will sometimes induce the 
same effect, and this was probably the cause, in case of the prepared color just 
mentioned ; the japan probably dried too hard, making the color inelastic, and 
dius prevented the different coats from cohering. 

As to preventives for the trouble named, we have endeavored to suggest 
these as we went along. Where they have occurred, the only cure is to sand- 
paper or pumice down all the coats that are affected, and then repaint from 
that point. 

7. " CRACKING." 

Definition.— T\it cracking, or breaking up of the surface into parts more or 
less minute, as in the case of a looking-glass when fractured, is one of the most 
common afflictions attending the use of varnish. 

Causes.— T^Q causes, which are several and well understood by experienced 
vamishers, may be enumerated briefly as follows: 1. By an inelastic surface 
underneath, either of varnish or color. Mr. W. Ohaver says : 

" I firmly believe that if a job be painted elastic throughout, with the single exception of 
one non-elastic coat, this one coat has the percentage in its favor of cracking all the rest. 

2. By a glossy or too elastic ground. One painter offers the following 
valuable hint in this connection : 

" The drying of glossy color is often so very slow that it does not crack the subsequent 
coats till the work has been varnished and run out." 

there are numerous cases of this kind of color-cracking, which must not be 
confounded, however, with varnish-cracking, for the destruction of this color is 
the cause of the varnish being destroyed prematurely. It will be understood 
from this fact that varnish has more to contend against than pamt, for_ it 
covers the latter, and being transparent, many of the misdeeds of the pamt 
are seen through the varnish, and attributed to it. 3. By previous coats of 



THE DEVILTRIES OF VARNISH. 31 

color or varnish that were not dry when subsequent coats were appHed. 
4. By destruction of the oily properties of the varnish through exposure to 
atmospheric influences, such as sudden change from heat to cold, or undue 
exposure to the sun. 5. By the action of ammonia or other alkalies. 6. By 
reason of unsuitable driers in the varnish, or its imperfect manufacture. 
7. By springing or rupture in the ground- work of the painting. 

Mr. Carpenter, previously quoted, offers the following testimony on two of 
the points named : 

"The springing of wood or iron-work will cause paint to crack. We frequently see on 
the sides of bodies long lines radiating from a point near where a step-bolt passes through 
the sill, caused evidently by the springing of the sill when persons enter or leave the car- 
riage ; and it is plain that the springing of any part of the wood or iron work would have 
a similar effect. 1 have also seen a small spot on a cari'iage very badly cracked, while the 
rest remained in good condition, and found, upon investigation, that it was kept where that 
portion of the body was exposed to the sun, by means of a window in the carriage-house." 

" Fire-checks " are a species of cracks, very small and running in every 
direction, forming squares, triangles, and circles, which are sometimes to be 
seen all over a panel, but which are not generally visible until a fine polish is 
made with the finishing coat. Mr. Gardner says, in reference to "fire-checks :" 

" I proved to my satisfaction, not long ago, that these may be caused by a coat put over 
a surface not hardened ; for in this instance, parts of the job which did not receive that hur- 
ried coat turned out splendidly." 

Cracks can seldom be filled so that they will not show themselves again in 
a very short time, and the only effectual way to remove them is to rub them 
out, and repaint from that point. 

8. " GOING CLOUDY," " SMOKY," OR " FOGGY." 

Definitions. — These terms, all synonymous, are self-explanatory as to their 
appearance, and are equivalent to the English expression "blooming," which 
still more aptly describes that the brilliancy of the varnished surface is obscured 
by a "bloom," as on a plum or cucumber. When clouding occurs in the case 
of finishing coats of varnish, it is very troublesome, as it often necessitates rub- 
bing down and revarnishing ; but in leveling coats it is of little consequence, 
and needs no comment. It is an atmospheric deviltry, and in the damp 
climate of London and vicinity it is more common than in the United States. 
Mr. Middleton, of London, says : 

" Varnish will go cloudy or smoky if, when laying it on, the varnish-room is filled with 
smoke ; or if the weather is foggy, or the atmosphere overchai-ged with moisture, as in misty 
weather, when (if the varnish-room is not protected against such influences) smoke, fog, or 
damp will set into the varnish while it is hardening, and spoil the surface." 

This many-named deviltry is almost invariably produced by an over-moist 
atmosphere. One carriage-painter claims that "blooming" is frequently 
caused by sulphur fumes emanating from the smith-shop. Moisture condens- 
ing on the surface, and leaving a residue of carbonic acid combined with other 
impurities, is doubtless the most common cause. The trouble may generally 
be removed by washing and "dry shammying." The Valentines have long 
been experimenting with a view to produce a varnish that would not readily 
bloom, and it is generally conceded that they have been eminently successful. 
One writer has given a number of interesting and instructive illustrations of 
the conditions under which clouding is liable to occur, which we would be 
pleased to print in full, but our space will permit us to present only the con- 
clusions which he draws therefrom. He says : 



32 



THE DEVILTRIES OF VARNISH. 



(I.) "In one instance, the fogging of the varnish was owing to lack of proper ventilation 
in the varnish-room, which was damp, being newly built, and this dampness having no means 
of escape (as the doors and windows were closed while the bodies were being varnished), set- 
tled upon the surface of the varnish, and dried with it, producing the cloudy or smoky appear- 
ance." 

(2. ) " In another case, the varnish, not yet being dry, i-eceived a portion of the fog or vapor 
upon its sensitive surface, which was only to be dissipated by the influence of heated irons ; 
and in some instances the vapor or fog dried with the varnish, in which case the heated irons 
had no beneficial effect. Revarnishing was the only cure." 

The same writer concludes by expressing his emphatic disapproval of the 
common practice of wetting down the floors of varnish-rooms before varnish- 
ing, saying : 

(,3.) " I am convinced by results that ventilation and a dry floor are essential, in order to pro- 
duce icnc lauded zuork ; bear in mind — a dry floor ; for if it is necessary to wet the floor to set- 
tle floating matter, the finisher is at fault, because such floating matter should have been 
removed before the work was brought into the varnish-room. I positively assert that, to 
varnish work clean, it is unnecessary to have a single drop of water on the floor." 

We would add that a ventilator with a revolving top will wholly avoid the 
last-named difficulty, by carrying away floating dust. We illustrate below the 
kind of ventilator best adapted for this purpose. Too 
much emphasis cannot be laid on this matter of venti- 
lation, which is equallynecessary in summer and winter. 
Some varnishers argue that considerable heat is neces- 
sary during the drying of varnish ; warmth certainly 
assists the process, but ventilatmi is indispensable. A 
single instance will serve to illustrate this. A painter 
in this city recently tried the following experiment : A 
room was filled with varnished articles, then closed as 
nearly air-tight as possible, and heated. Forty-eight 
hours afterward, the varnish showed scarcely any signs 
of hardening. The skylights were then thrown open, 
free ventilation permitted, and similar goods were sim- 
ilarly prepared in the same room, when, in a few hours, 
the varnish became well dried and moderately hard. 
Fresh air did what heat could not do. It should be 
borne in mind that varnish dries and hardens, noi by the 
evaporatioji of certain of its parts, but by the absorption 
of oxygen from the air, and the oxidation of those parts. 

We have already examined two classes of varnish defects, one due more 
particularly to materials and the other to workmanship, and we will now turn 
to a third class of troubles, which depend mainly upon care, or the lack of it, 
after the work is completed, and placed in the repository or stable. 

9. TURNING BLUE, OR GREEN. 

Exclusion of light or the presence of impure air, such as gas from a coal- 
fire, has the effect of discoloring varnish, generally increasing its yellowish 
tinge ; it then has an effect upon colors beneath it, turning blacks, blues and 
kindred colors a greenish shade ; and in connection with dampness, varnish will 
become bluish or smoky. The latter effect is more or less superficial, and may 
generally be removed by frequent washings with cold water, followed by dry 
shammyings and exposure to the fresh air; but when the body of the varnish 
has changed color the only cure consists in rubbing down to the color and 
revarnishing. Accidental and satisfactory exceptions may now and then 





A PERFECT surface is surely the ideal of every carriage 
painter. How to procure it is the important question. 
Will you rely upon personal skill, shrewd guessing and clever 
manipulation ? These are good, but are they sufficient ? 
Should not system, rule, order and organization have a place ? 
But above all, is not a perfect equipment as to material a first 
essential ? Can any painter enter the race upon any sort of 
equality without materials at least as good as those of his 
rivals ? Dare any painter who hopes to win, add to the cun- 
ning and handicraft required to properly paint a carriage, the 
labor and responsibility of preparing his own materials? It is 
important, then, that every painter should look carefully to 
the character and quality of his materials, and to adhere, if 
possible, to some uniform system rather than trust to personal 
selection or preparation. 

The Valentine system of varnishes provides for the wants 
of the carriage painter, from the priming to the finishing (with 
the exception of the colors, which are otherwise well cared for), 
furnishing a complete and harmonious development, prepared 
with all the advantages that capital, organization and experi- 
ence can afford, besides having been thoroughly tested by 
some of the oldest and shrewdest carnage builders in the 
country. 



34 THE DEVILTRIES OF VARNISH. 

occur. An instance is mentioned in which a gentleman, recently returned from 
Europe, sent his carriage to the coach-builder to be painted green; it had orig- 
inally been black, but was found to have changed to a deep rich green, by 
reason of long storage in a dark, close stable, and so uniformly that it was 
simply varnished over, the moldings being blacked, and returned to the 
owner with bill, as if repainted to order. It is mentioned by one writer that the 
varnishes of different makers often show a great difference in their liability to 
change color, and he suggests that this quality deserves to be considered in 
rating the comparative methods of different grades. Valentine's, we think, will 
be found superior in this respect. 

lO. MUD-SPOTTING. 

Spotting by mud is liable to occur during the summer months, if the car- 
riage is turned out before the varnish is thoroughly hardened. This may be 
remedied by frequent washings Avith cold water, which will also help to harden 
the varnish, and prevent a recurrence of the same trouble. Mud should never 
be allowed to dry upon a carriage. So long as the mud remains moist, there 
is but little danger of its leaving spots ; but if allowed to remain upon the var- 
nish over night, it will almost invariably leave stains, which, in the case of city 
mud (containing ammonia) or the mud of lime districts, will generally prove 
indelible. 

II. BLISTERING. 

Definition. — The swelling out of parts of the varnish surface, after it is dry 
and hard, into bubbles or blisters, resembling pustules on the human skin. 

This, we are prepared to assert, is never caused by any fault on the part of 
the varnish, but it seems to be the common opinion of the painters, whose re- 
ports are before us, that blistering is in all instances produced by one and 
the same cause — namely, the presence of oil or grease on the work, over which 
the paint or varnish was applied ; and that it generally occurs either from the 
use of sweet-oil by the body-makers to make the panels fit together more easily, 
or from exposure to oil, while in the smith-shop, during the process of drilling, 
etc. This explanation does not fully cover the ground, however, for, in the 
first place, exposure to sunshine or heat is necessary as a subsequent agency, 
acting upon the oil, and causing it to expand and lift the covering of varnish 
above it. Again, dampness or sap in the wood, if exposed to heat, will be 
liable to produce the same effect, for similar reasons. Water is frequently 
absorbed by the rough-stuff during rubbing, whicn, if not allowed to evaporate 
before applying another coat, is liable to cause blistering ; this hint deserves 
special emphasis. And third, an oily varnish, under the influence of heat, will 
itself supply the conditions for blistering, as is illustrated in burning off an old 
job of painting, when the varnish blisters and rolls up, but obviously from no 
fault of the under-coats. Or take varnished iron parts, which are unpainted, 
and direct sunlight will sometimes be sufficient to blister the surface. Varnished 
work ought always to be protected as much as possible from direct sunlight 
or strong heat. Many instances are on record where the surfaces of coaches, 
pianos and furniture have been blistered by the action of a bubble in the 
window-pane, which concentrated the sun's rays upon the varnish in the same 
manner as a burning glass would. One writer calls attention to the following 
important point, which we do not think is fully understood by the majority of 
painters. He says: 



THE DEVILTRIES OF VARNISH. 33 

" If the painter rough-stuff the coach-roof over without cutting off the nibs in the canvas, 
and giving the canvased surface time to dry, the consequence is tliat, when the carriage is 
finished and goes out in the sun, blisters are sure to occur wherever these oily nibs have been 
left. In a word, the sun, by its heat, boils the oil in these Uttle nibs, and raises the blisters." 

In many cases there is no cure for blistering but to pumice down the defec- 
tive surface, and revarnish. In some instances the trouble may be remedied, 
partially at least, by the following method, described by Mr. Ohaver : 

" After blisters have made their appearance, scrape off the paint in the holes, make a few 
indentures with a brad-awl in the wood, as retaining points, and then give a coat of shellac, 
and finish vdth about three puttyings over as many coats of lead." 

There is also, what is called " dry bUstering," which occurs without the 
influence of heat, and owing, it is thought, to the employment of putty having 
insufficient binding quality. 

12. CRUMBLING, RUSTING, OR PERISHING. 

Definitions. — These synonymous terms are applied to certain conditions 
of varnish, where there is a gradual loss of briUiancy, and the oily constituents 
are removed, ending in disintegration and complete destruction of the varnished 
surface. 

Causes. — But little was known on this subject until a comparatively recent 
date, when it was vigorously discussed by correspondents of " The Hub," and 
much yet remains to be learned about this, the most serious of varnish devil- 
tries. Three causes are now known to exist : i. Perishing by ammonia. To 
illustrate this, coat a varnished panel with even the mildest form of ammonia — 
namely, hartshorn — and it will in a little while eat up the varnish ; and the 
same result occurs when ammonia is present in the air, from stable manure, 
coal gas, or animal or vegetable matter in a state of decomposition. The street- 
mud of cities contains a large proportion of ammonia, and is therefore very 
detrimental to varnish. Mr. Middleton says : 

" This pungent alkali exists also in bituminous coal, whence it is thrown off in the form 
of gas ; also in animal life, whence it is thrown off by the respiratory organs ; and the atmos- 
phere of large cities is impregnated with it. It has been detected in London on dirty vdndows, 
in minute stellated crystals." 

Dampness favors its work of destruction. It has been found that if a car- 
riage is kept constantly dry, it is not so likely to be attacked by ammonia fumes. 
It is generally easy to distinguish where ammonia has destroyed a varnish 
surface by a variety of symptoms, which one correspondent enumerates as 
follows : 

" How do I know that ammonia did this work? I know it for the reason that nothing 
but ammonia or alkali will turn varnish rusty, at the same time leaving a bright spot in some 
protected place, as if to show that the carriage was once glossy; and also where the varnish 
is cracked, the edges of the cracks are rusted or rotten, which is not so in the ordinary crack- 
ing of varnish." 

2. Salt sea air and the atmosphere of limestone regions are also very inju- 
rious to varnish. Those who are accustomed to spend their summer vacations 
near the sea-shore will remember the destructive effect of sea air upon the 
finish of pianos and furniture, and also upon the outside painting of houses. 
Lime seems to have the effect of absorbing the oily parts of the varnish, robbing 
it of all power to resist the weather ; and mud-spots in a limestone region are 
therefore particularly destructive to the finish of carriages. 3. " Frost-bitten" 
varnish has an appearance similar to that destroyed by ammonia, but it lacks 
some of the distinguishing marks of the latter, as explained by Capt. O'Connell, 



5^ 



THE DEVILTRIES OF VARNISH. 



who describes at some length the case of a carriage injured in this way, and he 
concludes by saying : 

"It had not the distinguishing marks of ammonia about it— namely, it did not have that 
rusty appearance that ammonia imparts to varnish; it was not cracked on the spokes in very 
close parallel rings, and was altogether devoid of any glossy patches on protected parts, which 
occur in cases where ammonia has been at work. After carefully examining the facts, I came 
to the conclusion that the carriage was exposed to frequent storms of sleet, and, with this sleet 
and snow frozen upon it, had stood for hours at a time out of doors, and arriving home late 
in the evening, was allowed to stand unwashed till the following morning, when the frozen 
sleet was washed off with hot water ;* and this being repeated many times during a very severe 
winter, had destroyed the varnish all over." 

12- INSECT ANNOYANCES. 

In concluding this article, there is one other annoyance to which the vamisher 
is subjected, which is a great source of trouble when he has not the means of 
making the varnish-room dark — namely, the presence of insects, particularly 
flies, gnats and millers. Mr. Shettsline mentions that " in varnishing work with 
two different makers' varnish, one will sometimes repel flies, while the other 
will attract them, both varnishes claiming to be made the same," and he adds: 

" I have experienced considerable trouble on cars in this particular, having had work at 
times entirely destroyed by flies, and I was compelled to abandon the use in summer of the 
varnish which attracted them, for one of inferior make which repelled." 

By keeping the varnish-room dark, and carefully driving all insects from the 
room before beginning to varnish, this trouble may be obviated. 

The subject of varnish-rooms, into which we are now naturally led, is an 
all-important one, and in our next edition we hope to present a detailed review 
of this subject, as T/ie Hub has recently offered prizes amounting to $50 for 
essays on " What Constitute the Requisites of a Perfect Varnish Room," which 
promise to call out many practical and valuable suggestions. 



It strikes us that the hot water was quite sufficient cause, without the frost-biting. 




-^^^"^ 



The End of the Devilries. 



VALENTINE'S COACH VARNISHES. 



STYLE OF PACKAGE 

VARNISHES, JAPANS, and P. V)l. F. 1-g.llon Sealed cans, packed 5 In a 
case I 5-gallon Sealed Cans, cased separately i 25-gallon Half-Barrels, and 50-gallon Barrels. 

ROUGH-STUFF. 1-gallonTlnPallsj 5-gallon Kegs j Half- Barrels and Barrels, 

IVORY-BLACK, l-pound, 2-pound, 5-pound, and 10-pound Patent Cans 
IVORY BLACK. 

One-pound, two-pound, five-pound, and ten-pound patent cans. 



FINISHING. 

WEARING BODY VARNISH, 

(For finishing-coats only.) 

This Varnish is very pale, and excels in freedom and safety of working as well as in brilliancy and 
durability. Though a long time in hardening, it dries out of the way of dust in ten or twelve 
hours, and sets so slowly that ample time is allowed to accomplish a perfect job on the largest 
panels. One coat of it is sufficient when used over our Hard Drying Body or Quick Leveling. 

MEDIUM DRYING BODY VARNISH, 

(For finishing-coats only.) 

This Varnish dries out of the way of dust in eight or ten hours, and is the same as our Wearing 
Body, with the single exception of hardening more quickly, thus rendering it more desirable for 
use during h;>t weather and in tropical climates. One coat of it is sufficient when used over our 
Hard Drying Body or Quick Leveling. 

ELASTIC GEAR VARNISH, 

{For finishing the -wheels and under-parts of Carriages.) 
Though, not so durable as our Wearing Body, it is similar in color, lustre, and working. When 
flowed over a surface made with our Quick Leveling Varnish, it dries out of the way of dusl 
in eight hours, and hardens quickly. 

ONE COAT COACH VARNISH, 

(For finishing^oats on ordinary -work.) 
This Varnish is heavier-bodied and more durable than our Hard Drying Body, and is especially 
adapted for finishing work when but a single coat is practicable. It dries in eight to ten hours 
with fullness and brilliancy, and wears as well as a one-coat varnish can. 



38 valentine's coach varnishes. 



RUBBING. 

HARD DRYING BODY VARNISH, 

(A 4,-daj/ rubbing for under-coais on best -work.) 

This varnish dries in eight to ten hours, and hardens so as to rub well in about four days. It is fully 
equal to our Wearing Bodv in paleness, fullness, and lustre, and is much used for finishiag over a 
leveled surface on hurried work not requiring the greatest durability. 

ELASTIC LEVELING VARNISH, 

{A Q-day rubbing for under-coais on bodies of Coaches.) 

This is a medium between our Hard Drying Body and Quick Leveling Varnishes. It hard 
ens so as to rub well in three days, and is sufficiently pale for any light colors. From one 
to three coats should be used according to the class of the work, and be protected by our Wearing 
Body. 

QUICK LEVELING VARNISH,, 

(A Z-day rubbing for under-coais on gears, or on bodies requiring dispatch.) 

This Varnish dries quicker and harder than our Hard Drying Body. In good weather, it will harden 
so as to rub well in two days without sweating out. It is sufficiently pale for any light work. It 
should be protected with our Elastic Gear Varnish, when used on carriage parts, and with our 
Wearing Body, when used on bodies. 

BLACK JAPAN, 

(For producing a jet-black surface on Coaches.) 

This is a jet-black Leveling Varnish, which flows and rubs well. Two or three coats should be ap- 
plied over a black ground, and be protected by our Wearing Body. 



BLACK COLOR-AND-VARNISH, 

(A ready-made mixture of drop-black and Varnish for use on Coach work ) 

This Black, made of the purest drop-black and the best of varnish, is superior lo all mixtures of the 
kind prepared in the shop, on account of its great uniformity, and being ready for instant use, it 
will be found a great convenience. Though not so black as our Black Japan, it is more durable, 
and rubs well in two days without sweating out. N, B. — It should be well shaken or stirred be' 
fore using. 



valentine's coach varnishes. 39 



MISCELLANEOUS. 

ENAMELED LEATHER VARNISH, 

(For re7iovating the black C7ta7}ieled leather 0/ carriage tops.) 

In using this article, first clean the leather _ thoroughly with soap and water, and when dry, if soft 
and pliable, put on at once a thin coating of this_ Dressing,^ using a medium-size bristle brush. 
Should the leather be very hard, old and stiff, apply just a coating of our Dark Permanent Wood 
Filling with a brush or sponge, and -wipe well with rags so as to leave no P.W.F. on the surface. 
Let stand over night to dry ; then apply a coat of this Dressing, which will dry in an hour or so 
ready for use. 

QUICK BLACK LACQUER, 

(For touching up, in repairing iroivivork 0/ gears, etc.) 

This is a jet-black and very quick-drying Lacquei (or Japan), for hastily repairing the iron-work of 
gears, etc. It dries in an hour and requires to be varnished over. Our Black Japan is prefer- 
able because more durable. 

JAPAN GOLD SIZE, 

(For binding, drying, and hardening colors.) 

This is a superior oil-drier, of light color, and strength nearly double that of ordinary Japan. _ On 
account of its paleness and the less quantity required, it is especially valuable for use with light 
paints; and being an oil-drier it is much less hurtful to the work than Japan. Once known, it is 
indispensable to Coach, Car, and House Painters, for binding colors, mixing rough-stuffs, and 
facilitating their drying and hardening through. 

CROWN COACH JAPAN, 

(For drying a7id hardening paints.) 

This is a light-colored, strong drj-ing shellac Japan, for hardening colors, and is well adapted to the use 
of the coach painter. 

DARK GROUND ROUGH-STUFF, 

(For producing a hard and level surface on bodies 0/ Coaches and Cars.) 

This is a mixture of mineral substances, combined with great care, so as to furnish a dense body with 
a sharp grit. It is ground in Japan Gold Size, varnish and the purest oil, and is superior to all 
shop-made rough-stuffs (sometimes erroneously called "fillings"}, chiefly on account of its unifor- 
mity and its being ready for immediate use. When used over a priming of one coat of Perma- 
nent Wood Filling, tlie firstcoat should be made elastic with raw oil, and the following coats re- 
duced with turpentine, if required for working. N. B. — Stir -well before using ! 

LIGHT GROUND ROUGH-STUFF, 

(Same article as above except in color, it being light for use on bodies painted in light 
colors.) 

DARK PERMANENT WOOD FILLING, 

(A patent article for priming outside work, and permanently filling and darkening natural 

woods.) 
This article, being a very penetrating and non-evaporating anti-damp, of extreme durability, is a per- 
fect and permanent filling for the pores of wood. Experience has proved that it will not only 
support the color and varnish better and longer than the old method of lead priming; but that on 
account of its p-rmanent elasticity, it will neither crack nor flake off; besides which, it saves 
time, labor and cost, and is more convenient, cleanly and healthful. 

LIGHT PERMANENT WOOD FILLING, 

{^Same article as above except in color. Being light, it fills without staining the natural -wood, 
and IS adapted for use over the Light Ground RouGH-STini'F on Bodies painted in light 

VALENTINE'S IVORY BLACK, 

(A superior article of H^ov Black, groundwith very best materlal, to the finest possible degrek.) 
To make "quick color," simply dilute with turpentine to the proper consistency for spreading with a 
camel s hair brush. For ordinary work, add a little raw linseed oil, using judgment not to have it 
dry with more than an " egg-shell gloss," 



40 



valentine's coach varnishes. 



COMPARATIVE VIEW 



Drying, Hardening, and Durability of VALCNTINE'S Coach 
Varnishes. 



FINISHING. 
WEARING BODY VARNISH 

(For finishing-coats only .) 

MEDIUM DRYING BODY VARNISH. 

(For finishing^oats only.) 

ELASTIC GEAR VARNISH 

(For finishing the wheels and under parts of car- 
riages.) 

ONE COAT COACH VARNISH. 

(For finishing only.) 

RUBBING. 

HARD DRYING BODY VARNISH. . 

(For under-coats on best -work.) 

ELASTIC LEVELING VARNISH, 

(For under-coats on bodies of coaches.) 



QUICK LEVELING VARNISH, 

(For under-coats on gears, or 
dispatch.) 



on bodies requiring 



BLACK JAPAN 

(Far producing a jet-black surface on coaches.) 

BLACK COLOR-AND-VARNISH, 

(For producing a jet-black surface.) 



lO 

9 



required in Months 



4 to 5 
3 to 4 
2 to 3 

1 to 2 



13 
12 
10 

8 



2 

2 to 3 



*By " hardening to rub," we do not mean merely drying sufficiently to flat with putnitc-slone. readv 
for another coat, but sufficiently to rub dovn to a hard surface. 



LIBRARY OF CONGRESS 



021 470 364 ^ 




